Double Negative lays off 200+...

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Old 10 October 2012   #31
Originally Posted by leigh: I'd actually love that too. I'm a big history nut and would love to work on digital constructions of ancient sites and stuff like that for National Geographic or the History Channel. I think it'd be a lot of fun. Or doing documentary photography. The BBC's Natural History Unit does some phenomenal work.


That would be a great in-between for major projects. And the Beeb is publicly funded too right? So it should be stable.
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Old 10 October 2012   #32
Well on the record responses have meant little in the past (DD and Dr. D for example) when large scale redundancy is announced. I'm sure there are also examples in the other direction where the official response has got it right.

I was wondering if anyone knows if the layoffs were in Singapore and/or London? (Or another facility?)

I've avoided doing film work in my career so far partially because I enjoy the challenge of changing projects that the commercial world has to offer but also because, ironically perhaps, I've found the commercial world more stable for permanent employment.

As an aside to this, I was talking to a friend the other day who was in discussions with the institution here in the PRC where they talked about wanting to create 1.5 million (yes, you read correctly) new animators and cg professionals within the next 3-5 years. Just something to consider when discussing the future situation of the industry. I'd be happy to discuss that in another thread if people are interested too (i.e. what that actually means, if China can actually do it, and what the end result will probably look like etc).
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Old 10 October 2012   #33
Originally Posted by leigh: I'd actually love that too. I'm a big history nut and would love to work on digital constructions of ancient sites and stuff like that for National Geographic or the History Channel. I think it'd be a lot of fun. Or doing documentary photography. The BBC's Natural History Unit does some phenomenal work.


I would love to do a digital reconstruction of london in a past era.

I have lots of ideas for shots involving filming in current london, tracking it and doing some interesting transitions into a past era, using methods such as old photography projection mapping.

If you ever have any plans leigh, then give me a shout.
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Old 10 October 2012   #34
This kind of news now comes every month...

Just feel bad for all those artist who worked their assof spend much much time in front of screen but didn't get anything then this.


Can anyone know why is this happening almost everywhere in the world
 
Old 10 October 2012   #35
Originally Posted by danmarell:
I have lots of ideas for shots involving filming in current london, tracking it and doing some interesting transitions into a past era, using methods such as old photography projection mapping.

If you ever have any plans leigh, then give me a shout.



Count me in too!
 
Old 10 October 2012   #36
Originally Posted by DushyantArT: Just feel bad for all those artist who worked their assof spend much much time in front of screen but didn't get anything then this.


They did get something. They got paid. The contracts were terminated. but they weren't witheld money as far as I am aware. Both parties have the right to terminate early with enough notice(which is stipulated in the contract).
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Old 10 October 2012   #37
Originally Posted by axiomatic: As an aside to this, I was talking to a friend the other day who was in discussions with the institution here in the PRC where they talked about wanting to create 1.5 million (yes, you read correctly) new animators and cg professionals within the next 3-5 years. Just something to consider when discussing the future situation of the industry. I'd be happy to discuss that in another thread if people are interested too (i.e. what that actually means, if China can actually do it, and what the end result will probably look like etc).

This would mean hard time competing with them for the whole world, and in 10 years barely anyone would survive on the global market competition. Of course local work will always exist, if can't be outsourced. For example a Russian-speaking freelance survived only because of the language barrier. I think if not that, it would degrade pretty quick.
A pool of 1,5 millions artists means severe competition and low salaries, or rather, fixed ones, like here in Ukraine. Do what you want, but you'll never past 3,000$ even if you work night and day and have 10 years experience. Because you're interchangable, like everyone is (almost).
Let's be frank: when we started in this career, it had a bright future. But not anymore. I would really think hard before entering it today, because the learning curve is dramatically slow and time-consuming. The quality bar raised dramatically, and so will raise for some more years. It's quite a difficult work in terms of conditions, if to compare with other visual areas of art. I personally opt against working in the office for some middle pay you can get in many other areas of working expertise.
Every area has its peak and them slowly goes down. I guess we've seen its peak already, especially for those who worked in this in 1990-2010's. All this graphics clutter means we're got to the point of saturation, which no longer can evolve. I don't pay attention to CG anywhere anymore, as it's so much of it.
We'll see of course. But if China hits it so hard, you can imagine how it influences all markets: videogames, casual, film producton... wow. Not a bright future fo us.
 
Old 10 October 2012   #38
Interesting how the "official response" from DNeg in that FXGuide article completely ignores JCOM.

Quote: “Double Negative has had a busy year delivering spectacular VFX (either as sole or main vendor) for some of the biggest films of the year including The Dark Knight Rises, Snow White and the Huntsman, Total Recall, Bourne Legacy and Skyfall. We are currently completing work on Rush, Les Miserables, Captain Phillips and Man of Steel."
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Old 10 October 2012   #39
Originally Posted by leigh: ...Toastie was the internal name for one of the Narnia films, I don't remember which...


I believe it was 'Prince Caspian'. I remember hearing about the crazy pressure MPC was under at the time, with hundreds of un-finalled shots on their plate mere weeks before final delivery. They must've hired like crazy towards the end just to be able to push it out the door (pun intended).
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Old 10 October 2012   #40
Originally Posted by mister3d: Let's be frank: when we started in this career, it had a bright future. But not anymore. I would really think hard before entering it today, because the learning curve is dramatically slow and time-consuming.


Well, that's why I started to combine CG with other fields and expanded my horizon.
There are so many fields outside of movies/games ... you just have to be open. It would be great to work for big productions, but I'd rather go for planning ahead (finding other solutions) than trying to break into the movie/game industry with my head, just because it looks so cool.
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Old 10 October 2012   #41
Well, I've worked on and off in China for the last 3 years ,and 1. whatever million artists definitely doesn't mean 1. something good ones.

I definitely think the roto business in the west has seen it's peak and it's gone, but anything really creative is not easy to staff, you can't just throw people at it. Experience and level of skill count for a lot.
 
Old 10 October 2012   #42
First Digital Domain, and now Double Negative...

What's going on in the VFX biz?
 
Old 10 October 2012   #43
Surprised Paul hasn't made a post to clear this up, but it sounds like its not as drastic as its being made out to be.
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Last edited by vfx : 10 October 2012 at 09:51 AM.
 
Old 10 October 2012   #44
Originally Posted by DePaint: First Digital Domain, and now Double Negative...

What's going on in the VFX biz?


Really? What happened here is absolutely nothing like what happened at DD.

I'm honestly surprised at the continuing "shocked" posts in this thread. In 2007, MPC in London let go about 250 people after Narnia and Potter wrapped. In 2009, Framestore let go about 150 people after Despereaux wrapped, because Prince of Persia had been postponed so there wasn't a project for a lot of the Despereaux people to go onto. Framestore has also recently been letting a lot of people go once they'd wrapped up their roles on Gravity. And yet, despite these layoffs/contracts not being renewed which are also in large numbers, these studios are still running.

Because this is pretty normal for the VFX scene in London. It sucks for everyone involved, but it's not exactly out of the ordinary. At least, there's no reason to believe otherwise yet. Maybe there is some shit going down at DNeg, and only time will tell, but on the surface, it's just as likely that this is a totally normal shedding of folks as projects end. DNeg has grown a lot over the last two or three years as they've been very busy with projects, and since it's likely that they're also not very busy right now like the rest of London, it's to be expected that they'd let a lot of people go.
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Old 10 October 2012   #45
Originally Posted by danmarell: I would love to do a digital reconstruction of london in a past era.

I have lots of ideas for shots involving filming in current london, tracking it and doing some interesting transitions into a past era, using methods such as old photography projection mapping.

If you ever have any plans leigh, then give me a shout.


That's a cool idea!
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